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“If nine out of ten spoken word pieces are made better by the inclusion of movement,” Melbourne dance critic Chris Boyd wrote at the conclusion of the 2008 Melbourne International Arts Festival, “then nine out of ten movement pieces are
Of all the productions to visit Australia last year, two of the best were Nature Theater of Oklahoma’s No Dice and Elevator Repair Service’s Gatz, the former a sprawling example of verbatim theatre at its most extreme and poetically inane
HOMER: Wait, I’m confused about the movie. So the cops knew that Internal Affairs was setting them up? MAN: What are you talking about? There’s nothing like that in there. HOMER: Well, you see when I get bored I make
Ceci n’est pas une critique, as Magritte might have put it, but rather a rather too personal reflection. If I thought too highly of Wendy Houstoun’s Happy Hour, it is only because I saw too much of myself in it.
There is, I will admit, a certain quality of movement to the dancers one cannot but find compelling. There is their weight, of course, their sheer solidity, and the manner in which it brings them to earth with an inevitability
One of the difficulties with staging – and reviewing – a much-loved classic like Tchaikovsky’s The Nutcracker is that it is both much-loved and a classic. To what extent should choreographers and performers stick to traditional interpretations? To what extent
Modernity is something that happens to the body. It takes it and it breaks it. It commodifies and rapes it. It empties it out and renders it hollow. It displaces and disembodies it. Then it puts it back together again,